Curriculum Vitae
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Poetry and Poetics Orals List Anne Marie Thompson Fall 2017
Poetry and Poetics Orals List Anne Marie Thompson Fall 2017 POETS Pre-1600: Sir Philip Sidney (1554-1586) John Donne (1572-1631) Between 1600-1800: John Milton (1608-1674) Alexander Pope (1688-1744) Between 1800-1900: William Wordsworth (1770-1850) Walt Whitman (1819-1892) Since 1900: W. B. Yeats (1865-1939) T. S. Eliot (1888-1965) POEMS (30 poems, by poets other than the chosen 8, spanning the major genres) epigram: John Dryden, “Epigram on Milton” (1688) Robert Burns, “Epigram on Rough Woods” (1786) Robert Frost, “Fire and Ice” (1920) sonnet: Thomas Wyatt, “Whoso list to hunt” William Shakespeare, “That time of year thou mayest in me behold” (Sonnet 73) Gerard Manley Hopkins, “God’s Grandeur” (1877) Claude McKay, “America” (1921) epistle: Anne Bradstreet, “To My Dear and Loving Husband” (1650) Lord Byron, “Epistle to Augusta” (1816/1830) Pound, “The River Merchant’s Wife: A Letter” (1915) Elizabeth Bishop, “Letter to N.Y.” (1955) elegy: Thomas Gray, “Elegy Written in a Country Churchyard” (1751) Percy Bysshe Shelley, “Adonais” (1821) Wilfred Owen, “Anthem for Doomed Youth” (1917/1920) 1 W. H. Auden, “In Memory of W. B. Yeats” (1940) ode: Andrew Marvell, “Horatian Ode” (1650) John Keats, “Ode to a Nightingale” (1819) Percy Bysshe Shelley, “Ode to the West Wind” (1820) ballad: Anonymous, “Tam Lin” Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” (1798) Edgar Allan Poe, “Annabel Lee” (1849) Gwendolyn Brooks, “Of De Witt Williams on His Way to Lincoln Cemetery” (1945) dramatic monologue: Robert Browning, “My Last Duchess” (1842) Alfred, Lord Tennyson, “Ulysses” (1842) Sylvia Plath, “Lady Lazarus” (1965) concrete/visual: George Herbert, “The Altar” (1663) William Blake, Songs of Innocence (1789) Mina Loy, “Brancusi’s Golden Bird” (1922) epic: Homer, The Odyssey Derek Walcott, Omeros (1990) PRIMARY TEXTS TO 1945 (pick 15) 1. -
John Andrew Higgins
John Andrew Higgins Assistant Professor Princeton University Tel: 609-258-7024 Department of Geosciences Fax: 609-258-5275 212 Guyot Hall Email: [email protected] Princeton, NJ, 08544 Web: carboncycle.princeton.edu Education: 2003-2009 Harvard University, Cambridge, MA Ph.D. in Earth and Planetary Sciences, June 2009 Dissertation Supervisor: Daniel P. Schrag 2002-2003 University of Cambridge, Cambridge, UK M.Phil. in Earth Science, August 2003 Dissertation Supervisor: Harry Elderfield 1998-2002 Harvard College, Cambridge, MA A.B. in Earth and Planetary Sciences (Summa Cum Laude), June 2002 Employment: 2018-present Associate Professor, Department of Geosciences, Princeton University 2012-2018 Assistant Professor, Department of Geosciences, Princeton University 2011-2012 Canadian Institute for Advanced Research (CIfAR) Junior Fellow 2009-2011 Hess Postdoctoral Fellow, Department of Geosciences, Princeton University 2003-2009 Graduate Research Assistant, Department of Earth and Planetary Science, Harvard University Fellowships and Awards: 2011-2013 Canadian Institute for Advanced Research (CIfAR) Global Scholars Program 2009-2011 Hess Postdoctoral Fellow, Princeton University 2007-2009 National Science Foundation Graduate Research Fellowship 2004-2007 National Defense Science and Engineering Graduate (NDSEG) Fellowship 2002-2003 Henry Fellowship to the University of Cambridge 2002 Phi Beta Kappa, Harvard College Research Interests: Interactions between Earth's climate, life, and the global geochemical cycles of carbon and oxygen on timescales of millennia to billions of years using measurements of the chemistry and isotopic composition of cations in sedimentary rocks and bubbles of trapped air in polar ice cores. Higgins - CV 1 Publications: *Lab -affiliated graduate student or postdoctoral fellow **First author or co-first author manuscripts In Review: 1. -
Identity and Women Poets of the Black Atlantic
IDENTITY AND WOMEN POETS OF THE BLACK ATLANTIC: MUSICALITY, HISTORY, AND HOME KAREN ELIZABETH CONCANNON SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR IN PHILOSOPHY UNIVERSITY OF LEEDS SCHOOL OF ENGLISH SEPTEMBER 2014 i The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Karen E. Concannon to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs, and Patents Act 1988. © 2014 The University of Leeds and K. E. Concannon ii ACKNOWLEDGEMENTS I am grateful for the wisdom and assistance of Dr Andrew Warnes and Dr John Whale. They saw a potential in me from the start, and it has been with their patience, guidance, and eye-opening suggestions that this project has come to fruition. I thank Dr John McLeod and Dr Sharon Monteith for their close reading and constructive insights into the direction of my research. I am more than appreciative of Jackie Kay, whose generosity of time and spirit transcends the page to interpersonal connection. With this work, I honour Dr Harold Fein, who has always been a champion of my education. I am indebted to Laura Faile, whose loving friendship and joy in the literary arts have been for me a lifelong cornerstone. To Robert, Paula, and David Ohler, in each of my endeavours, I carry the love of our family with me like a ladder, bringing all things into reach. -
Bin Brook Easter 2018
Bin Brook Draft 4 AW.qxp_Layout 1 01/08/2018 13:48 Page 1 BIN EASTER 2018 BROOK ROBINSON COLLEGE UNIVERSITY OF CAMBRIDGE Diversifying Robinson Bringing Focus on Medicine From bats to Travels with our students India Remembering Robinson the brightest and best to Cambridge herpes with Robinson's medics and Iraq with Zhuan and Molly Dr Mary Stewart's living legacy Bin Brook Draft 4 AW.qxp_Layout 1 01/08/2018 13:48 Page 2 02 Contents WELCOME 03 News in brief 04 Diversifying Robinson Bin Brook is Robinson’s flagship publication, keeping our alumni and friends 05 Access to Robinson Eleanor Humphrey in touch with the College and with each other. In view of its importance 06 My Robinson Dr Ben Guy we felt it was owed a facelift, and we hope you like the new look. 07 e Cancer Problem Dr Gary Doherty 08 Must all that lives die? Dr Anke Timmerman Easter 2018 is the first in a series of themed issues, focusing this time on the ground- breaking work of our Fellows in Medicine. ere can be few of us whose lives have 09 Fighting fluProfessor Wendy Barclay been untouched by illnesses such as cancer, viral disease or dementia, and it’s exciting to see that the research that may change the direction of our approaches 10 Bats in the limelight Dr Oliver Restif to these modern-day plagues may come out of Robinson. 11 Learning about memory Dr Brian McCabe Oxbridge admissions have been in the media spotlight recently and we are pleased to offer an 12 Brain Training Dr Duncan Astle insight into our outreach work, answering some of our readers’ questions on this most important 13 e Medic’s Tale Oliver Fox subject that is so close to Robinson’s heart and heritage. -
Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb
Reading Poetry IDSEM UG 1420 Spring 2014, January 28- March 13 Tuesdays and Thursdays, 3:30-4:45 Professor Lisa Goldfarb COURSE DESCRIPTION Poetry is an art that can express our deepest feelings and thoughts about our human experience. Too many of us, however, encounter poetry timidly. We wonder how we can make meaning of poetic words and rhythms so distinct from those we use in our daily lives. In this course, we will work at developing poetic sensibilities, not by digging to find clues to the mysterious meanings of poems, but by gaining an understanding of how to read poetry as a language within a language. We will study how the concentrated language and sounds of poetry help us to grapple with the shades and subtleties of our own experience. We will read many poems ranging from early English lyrics, popular ballads, and Shakespeare’s sonnets, to modern and contemporary poems, as well as poems originally written in other languages. LEARNING GOALS • Students will develop an understanding of the genre of lyric poetry and master a variety of forms particular to the lyric in Anglo-American poetry. • Students will learn a variety of critical strategies for the close reading of poetic texts (linguistic, aesthetic, historical, philosophical). • Students will develop familiarity with poetry from a variety of traditions: European (east and west); African, and Asian poems will be studied alongside the Anglo-American works. • All students will learn to orally present their readings of both poetic and musical texts to the class in informal and formal presentations. • Students will master critical writing and conventions of comparative poetic analysis. -
Of His Native Language: Heaney's Tone and the International Style
Estudios Irlandeses, Number 11, 2016, pp. 190-198 __________________________________________________________________________________________ AEDEI Leaning “well beyond the plumb” of His Native Language: Heaney’s Tone and the International Style Nick Norwood Columbus State University, USA Copyright (c) 2016 by Nick Norwood. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. In the last decades of his life Seamus Heaney enjoyed phenomenal worldwide success, outselling, or so it was widely held, all other poets writing in English combined, a fact attesting to the existence of an international component in his work. A close study of the entire body of his poetry, as well as a study of the concurrent poetic interests he himself professed and which other critics have identified, reveals a subtle and gradual shift toward what may be referred to as the “international style”. The reader encounters such a style, prominently manifest, in the work of some of Heaney’s poetic influences, especially Eastern European poets like Czeslaw Milosz and Zbigniew Herbert. This article argues, however, that Heaney’s stylistic shift was too slight to account for the enormity of his international success and asserts instead that his far-ranging appeal is a matter of tone: Heaney’s attitude toward his material, but more so, deep characteristics of his personality – what Ted Hughes refers to as “the ultimate suffering and decision” in him – occupy space below the surface of his work and imbue it with a quality to which readers around the world are drawn. -
A MIRROR and a BAROMETER: on the PUBLIC USE of POETRY a Thesis Submitted to the Faculty of the School of Continuing Studies An
A MIRROR AND A BAROMETER: ON THE PUBLIC USE OF POETRY A thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Masters of Arts in Liberal Studies By Teresa A. Merz, B.S. Georgetown University Washington, DC March 11, 2019 COPYRIGHT © 2019 by Teresa Merz All rights reserved ii A MIRROR AND A BAROMETER: ON THE PUBLIC USE OF POETRY Teresa A. Merz, B.S. MALS Mentor: William J. O’Brien, Ph.D. ABSTRACT Poetry, as a contemporary literary genre, is generally read by a small, self- selecting audience, and in this sense, it largely remains a private art. This paper discusses the public use of this private art, to consider if and how it can make a positive contribution to civil discourse and engagement in civic life. It affirms that poetry does have a public use, that it is an art form uniquely capable of fostering a sense of cultural cohesion by expressing the shared values of a community. This paper explores how the work of five individual poets exemplifies a public use of poetry across time and cultures: the Classical Roman poet Virgil, the Late Medieval Italian poet Dante, the English Romantic poet William Wordsworth, the twentieth century francophone poet Léopold Sédar Senghor, and the twentieth century Irish poet Seamus Heaney. As an introduction to this exploration of how poetry can yield power in public life, and what use it has for civil society, this paper looks briefly at remarks from three contemporary American poets: the current Poet Laureate of the United States, Tracy K. -
Romeo & Juliet
Romeo & Juliet by William Shakespeare The title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimiles of Romeo & Juliet , published in the Globe Folios series in association with the British Library, are available from the shop, price £9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West. Sources, early Performance and Publication Shakespeare’s principal sources for Romeo & Romeo & Juliet was almost certainly first Juliet were a long narrative poem called The performed by Shakespeare’s company, the Tragicall Historye of Romeus and Juliet by Arthur Chamberlain’s Men, in or around 1596 – a Brooke, first published in 1562 and, to a lesser ‘lyrical’ period of Shakespeare’s writing career degree, the prose romance Rhomeo and Julietta which also includes A Midsummer Night’s Dream, by William Painter. Both sources were based Richard II and many of the Sonnets . No records on a French version of the Italian story Giulietta exist to tell us where it was first seen, but it e Romeo first published in about 1530. Such is likely to have been either the Theatre or the The Curtain Theatre, Shoreditch (to the right), where Italian ‘novelles’ were popular reading in Curtain playhouse in Shoreditch. It has been Romeo & Juliet was probably first performed in or around Shakespeare’s time and Painter’s collection, suggested that Richard Burbage, the company’s 1596. A detail from Abram Booth’s ‘View of London from The Palace of Pleasure , was singled out by the leading man, took the role of Romeo (he would the North’. -
Ge-259267-18
GE-259267-18 NEH Application Cover Sheet (GE-259267) Exhibitions: Planning PROJECT DIRECTOR Mr. Jeffrey Forgeng E-mail: [email protected] Curator of arms & armor and medieval art Phone: 508.793.4481 55 Salisbury St Fax: Worcester, MA 01609-3123 USA Field of expertise: Medieval Studies INSTITUTION Worcester Art Museum Worcester, MA 01609-3123 APPLICATION INFORMATION Title: Permanent Installation of Medieval Arms & Armour Grant period: From 2018-04-02 to 2019-03-29 Project field(s): Arts, General; Military History; Medieval History Description of project: The Worcester Art Museum seeks funding from the NEH to support planning activities for the long-term installation of its collection of arms and armor. WAM acquired the highly significant collection in 2014 from the Higgins Armory Museum and plans to design an innovative installation, consisting partly of open storage, with emphasis on accessibility, both physical and intellectual. The grant would help fund preparatory activities including specialist review of the collection, brainstorming by regional academics and educators to suggest possible interpretive approaches, and consultation with interpretation and design specialists to turn these ideas into concrete plans for a compelling and engaging installation that will appeal to diverse audiences. The installation’s core humanities concepts will be the contrast between the superficial purpose of the objects and their actual complex functions, and the meaning of their enduring power as symbols today when they are no longer in actual use. BUDGET Outright Request 40,000.00 Cost Sharing 112,309.00 Matching Request 0.00 Total Budget 152,309.00 Total NEH 40,000.00 GRANT ADMINISTRATOR Mr. -
Voices De La Luna a Quarterly Poetry & Arts Magazine
Voices de la Luna A Quarterly Poetry & Arts Magazine Tuesday 15 December 2009 Volume 2, Number 2 Questions for Bridget Drinka A Tribute to Cynthia Harper “How Shall I Tell You?” by Carmen Tafolla “Are We Friends?” Flash Fiction by Naomi Nye “Aging Gracefully” by Voices Editors Interview with Annie Parker Poetry & Arts Places in San Antonio Letter from the Editors Mo H. Saidi and James Brandenburg When power leads man towards arrogance, poetry reminds him of his limitations. When power nar- We welcome you to the second year and the sixth issue of rows the areas of man’s concern, poetry reminds him Voices de la Luna: A Quarterly Poetry & Arts Magazine. Start- of the richness and diversity of his existence. When ing with the 15 June 2009 issue, our magazine was published in power corrupts, poetry cleanses. For art establishes four formats: webpage, digital reader, eMagazine, and hardcopy. the basic human truth which must serve as the touch- The printed version of the magazine is creating new visibility stone of our judgment. for us with a growing number of paid subscriber-members. The number of copies printed is determined strictly by existing, pre- John F. Kennedy (1917–63), U.S. Democratic politi- paid demand from subscriber-members, contributing editors, cian, president. Last major public address, 26 Oct. board of directors, and advisors. 1963, at dedication of Robert Frost Library, Amherst College. In the early morning hours of Friday 9 October, President Obama was awakened with the news that he had won the Nobel BOTANICAL GARDENS—33 acres of formal gardens, pools, Peace Prize for “extraordinary efforts to strengthen international fountains, and natural areas; Native Texas Area, South Center diplomacy and cooperation between people.” He was only the Periscope. -
MAKING SENSE of CZESLAW MILOSZ: a POET's FORMATIVE DIALOGUE with HIS TRANSNATIONAL AUDIENCES by Joanna Mazurska
MAKING SENSE OF CZESLAW MILOSZ: A POET’S FORMATIVE DIALOGUE WITH HIS TRANSNATIONAL AUDIENCES By Joanna Mazurska Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History August, 2013 Nashville, Tennessee Approved: Professor Michael Bess Professor Marci Shore Professor Helmut W. Smith Professor Frank Wcislo Professor Meike Werner To my parents, Grazyna and Piotr Mazurscy II ACKNOWLEDGEMENTS I would like to express my gratitude to the members of my Dissertation Committee: Michael Bess, Marci Shore, Helmut Smith, Frank Wcislo, and Meike Werner. Each of them has contributed enormously to my project through providing professional guidance and encouragement. It is with immense gratitude that I acknowledge the support of my mentor Professor Michael Bess, who has been for me a constant source of intellectual inspiration, and whose generosity and sense of humor has brightened my academic path from the very first day in graduate school. My thesis would have remained a dream had it not been for the institutional and financial support of my academic home - the Vanderbilt Department of History. I am grateful for the support from the Vanderbilt Graduate School Summer Research Fund, the George J. Graham Jr. Fellowship at the Robert Penn Warren Center for the Humanities, the Max Kade Center Graduate Student Research Grant, the National Program for the Development of the Humanities Grant from the Polish Ministry of Science and Higher Education, and the New York University Remarque Institute Visiting Fellowship. I wish to thank to my friends at the Vanderbilt Department of History who have kept me company on this journey with Milosz. -
Verse WISCONSIN
issue 108 www.versewisconsin.org April 2012 Verse WISCONSIN Founded by linda Aschbrenner AS FREE VERSE 1998 VERSE DRAMA VERSE DRAMA VERSE DRAMA PROSE FEATURES DRAMATIC POETRY & FERMAT’S LAST THEOREM “Is a brief, random, one- or two- generation explosion of verse plays BY AMIT MAJMUDAR impossible? The visual fixation of modern audiences—audience implies OUR EXPANDING DRAMAVERSE audition, hearing; perhaps we should call BY WENDY VARDAMAN & GREER DUBOIS them viewers—makes it unlikely. The technological shift, from nearly bare stage to richly detailed screen, makes it even “Verse drama isn’t just important more unlikely. The emphasis among most because Shakespeare did it. Poetry is poets on “lyric” poetry doesn’t help.” drama’s native language. Performance is poetry’s native state. Besides our —Amit Majmudar broad and deeply held belief in the VERSE DRAMA power of poetry and drama, singly and VERSE DRAMA in unison, to activate the imagination and to help us to make meaning, a POETRY BY JAMES BABBS ; ALESSANDRA belief also critical to hip hop, there are BAVA ; GUY R. BEINING ; MICHAEL a host of practical, artistic contributions BELONGIE ; CAROL BERG ; STEPHEN BETT that drama can make to poetry.” ; LORNA KNOWLES BLAKE ; CAROLINE —Wendy Vardaman & Greer DuBois COLLINS ; ELIZABETH COOK ; BRUCE DETHLEFSEN ; KARL ELDER ; R. VIRGIL ELLIS ; ANNA M. EVANS ; WILLIAM FORD ; CAROL LYNN GRELLAS ; DAVID GROSS VERSE DRAMAS BY CAROL DORF & ; JERRY HAUSER ; KARLA HUSTON ; ; AUTUMN STEPHENS KEVIN DRZAKOWSKI LAWRENCE KESSENICH ; DON KIMBALL; ; ; AMIT MAJMUDAR CHARLOTTE MICHAEL KRIESEL ; BARBARA LIGHTNER ; MANDEL ANGELA ALAIMO O’DONNELL ; EMILIE LINDEMANN ; SANDY LINDOW ; MONICA RAYMOND ; DAVID YEZZI ; ; JAMES SCANNELL MCCORMICK ; JAMES B.